Dizzy's "bebop" media-named the genre, but "bop" was revolutionary, rejuvenating jazz, scandalizing Tin-Pan Alley. Broadway popular ballads finessed blues into the mainstream. Bird re-organized the same materials , using the chordal base of popular song as one resource for improvisation and composition- innovative and practical (since only melody is copyrighted).

"Bop," Bird, initially assaulted viciously by the critical establishment, were later, to save face, re-reviewed . Countering the blurring and softening of the music to fit the pockets of commerce, bop restored the critical relationship of rhythm to melody and harmony, the centrality of improvisation, blues intonation.

Dorham and Gordon, who never reached media stardom, were frontline creators. Blakey called Dorham "The Uncrowned King", a consummate melodist, lyric soloist, a ubiquitous presence on the most creative scenes of his time, like these "sidemen," contributing innovators, producing the musical discourse of the era.